BULLETS OVER BROADWAY – Broadway

  • April 18, 2014

Bullets_HeadThis was a show that I was so much looking forward to seeing, and honestly, had very high hopes for. Thus, I was somewhat disappointed. That’s not to say it was a bad show, or that it should be skipped over haphazardly. BULLETS OVER BROADWAY will most definitely appeal to many. The slapstick, PRODUCERS style of direction that we see from Susan Stroman combined with the dry wit of Woody Allen just didn’t seem to gel correctly.

Sure, there were some good performances. Even a great one or two. Helene Yorke is nothing less than perfect as flapper and Broadway wannabe, Olive. And as her thug boyfriend, Nick Valenti, Vincent Pastore could perform the next revival of GUYS AND DOLLS with the best.  But at the end of the day, all of the elements need to come together, and they just didn’t fall into place as well as they could have.

Individually, there were some big, brash and bawdy production numbers that are hard to find in a new musical and it was refreshing to hear a score that engaged all the senses. There were a few stand-out moments worth mentioning. Yorke’s rendition of “The Hot Dog Song” had me rolling in the aisle. Definitely a PG-13 rating on this one though.

Overall, the troubles seem to be with the book and the difficulties combining the comedy of Woody Allen with Susan Stroman’s over the top direction and choreography. The production almost overshadows the story. The scenes are so big and over-designed (very nicely over-designed, however), they just didn’t match the subtlety of Allen’s humor. Perhaps BULLETS may have worked better as a play.

The killer for me (no pun intended) was the ending. It just seemed too easy. The resolution was that there was actually no resolution. Sure, the conflicts were resolved and everyone left the stage happy, but there was no reason for it. (Partial spoiler alert here) Maybe I’m trying too hard to make sense out of something that isn’t intended to be sensible, but relationships just don’t come to an end and the guy or gal steps out of the way for the next one without some kind of struggle – even in a comedy as shallow as BULLETS OVER BROADWAY. Someone has to get hurt, and that just doesn’t happen.

Oh well, like I said, many will love this show simply for its over the top magnificent sets, orchestrations and choreography. And if that’s your thing, go and enjoy it. You won’t be disappointed. However, if you’re looking for a bit more depth of characters, more challenging Woody Allen – style humor, and a conclusive storyline, you might leave wanting more.

You can see BULLETS OVER BROADWAY at the St. James Theatre. For more information and to purchase tickets, visit www.bulletsoverbroadway.com.

 

 

NICHOLAS NICKLEBY, A NEW MUSICAL – Theater for the New City

  • April 18, 2014

96ZbsR45TdWNOAioWqHnzCBuIXFL4YAZinqkCdA2zkkfZI0A83qrjBWSDFOk0Fkp8w=s190NICHOLAS NICKLEBY, A NEW MUSICAL had its premier Thursday night (April 17) at Theater for the New City in New York. The off-Broadway house is well-know for producing new and sometimes experimental works, and NICHOLAS NICKLEBY, A NEW MUSICAL is no exception.

NICHOLAS NICKLEBY is a play within a play, and we join the Crummles theater company in protest mode as they bring The Nickleby Family, The Squeers, The Cheerybles, Smike, Newman Noggs and an array of early Victorian era characters to life. Although the concept of watching a production play out fictitiously within the rendering of an actual production usually makes the show interesting, there could have been a few more obvious stage directions given by the character Mr. Crummles to help the audience understand better which scenes were real and which were part of our production’s alter ego.

The show brings to life all of the memorable characters and satire of Charles Dickens’ 1830’s novel including themes of class inequality and social injustice that are still relevant in our society. Left penniless after his father’s death, teenage Nicholas, his mother and sister embark on a journey to London to seek help from their Uncle Ralph, who immediately dislikes Nicholas and finds work for him in The Squeers’ boarding school (think Oliver, also a Dickens derivative, or a darker Annie). Run like a prison, Nicholas is horrified by the school’s conditions and escapes with crippled friend Smike back to London. Reunited with his family, Nicholas finds himself defending the honor of his family and friends against his Uncle’s deceptions and while doing so stumbles across a mysterious love interest and uncovers some interesting secrets as he does so.

Lissa Moira fearlessly directs a cast of 35, including six children, through the twists and turns of the relatively complex plot. This is no easy feat, considering the complexity of Alaric “Rokko” Jans’ score and the intricacy of J. Alan Hanna’s and Carlos Gomez’s choreography.

The impressive NICHOLAS NICKLEBY cast includins Broadway star Luba Mason* (Chicago, Jekyll & Hyde, How to Succeed, Sunset Blvd.), Cabaret luminary Karen Kohler* (Das Cabaret, Vienna to Weimar w/ KT Sullivan), Becca Gottlieb* (Nat. Tours: Damn Yankees, The Wedding Singer), and Douglas McDonnell (Metropolitan & New York City Operas), with Rachel Daye Adams, William Broderick*, Jonathan Powers, David F. Slone, Jose Amor, Anik Baker, Malin Barr, Alex Baturin, Rachel Baum, Sam Benedict, Thom Brown III, Sage Buchalter, Autumn Nia Fore, Virginia Franks, Carlos Gomez, Hannah Granik, Chloe Himmelman, Larry E. Johnson, Patrick Kenner, Stephanie Leone, Gloria Makino*, David “Zen” Mansley, Rita McCann, Tanner Murray, Chris Neher, Nia Nichole, Elisa Nikoloulias, Holly Rae Phillips*, Robert Charles Russell, Mary Elizabeth Schneider, and Amanda Yachechak. *Member, Actors’ Equity Association. AEA Showcase.

No one ever said that Dickens was an easy read, and you should go to see NICHOLAS NICKLEBY keeping that in mind. Jans’ score, while complex, fits the mood of Dickens’ plot, and the minor keys he uses portray a sense of gloom and obscurity masterfully adapted from the less than desirable stations we are left to by miserly Uncle Ralph. An occasional upbeat number is inserted, keeping the audience from falling too deep into tragic despair, and reminding us that if we look beyond the darkness of life, no matter its source, we can help to affect change in our world. This concept is alluded to notably in the memorably whimsical number “Learn to Improvise” at the end of Act One, showcasing the first-rate choreography of J. Alan Hanna and Carlos Gomez as the entire cast of 35 is engaged on stage in the act’s finale.

Albeit dark and satirical,  NICHOLAS NICKLEBY, in typical Dickens form, attempts to teach some lessons, and although this production has its ups and downs technically, attempting a serious amount of movement and activity in a relatively small space, perhaps with a vision of bigger and better things (and appropriately so) to come… the show demonstrates great potential. Don’t discount the possibilities of this Theater for the New City production. This hidden diamond might be a big surprise, living out the tale that unfolds on stage as the Crummels’ theater company categorically reveals its ability to improvise when life’s script delivers unexpected surprises.

Go see NICHOLAS NICKLEBY, A NEW MUSICAL at Theater for the New City. For more information and tickets, visit

 

Get FREE tickets now for The Wild Root Company’s THE BEAST IN MY PANTS!

  • April 17, 2014

 

Beast_in_my_pantsThe Wild Root Company is presenting two readings of playwright Jonathan Kravetz’s farce, THE BEAST IN MY PANTS, at the Creative Center at Manhattan Theatre Club (311 West 43rd Street, 8th Floor, Studio 3) at 3:00 pm and 8:00 pm on Thursday April 17, 2014. Don’t miss this opportunity to experience one of these free readings!

Hailed as a “sexy, erudite farce” (CriticalRant.com), THE BEAST IN MY PANTS is a wildly exhilarating new comedy from rising playwright Jonathan Kravetz that follows the romantic vicissitudes of six outrageous characters:  Marlon, an innocent flasher, who loves Pam; she loves the arrogant psychotherapist Adam Applebaum, because she can only love a genius.  Applebaum loves Steve, the cop, who wants to win his wife’s affections.  But Flame, Steve’s wife, can only love men who don’t respect her.  Marlon’s mother, the homicidal Mrs. Rivington tries to protect her son from the world. The Beast rules all.

The cast includes three-time Drama Desk nominee Julie Halston (The Divine Sister, Twentieth Century, Anything Goes), Patrick Kerr (Stage Kiss at Playwrights Horizons, Broadway’s The Ritz), Chris Dinolfo (The Normal Heart at Arena Stage), Jay Leibowitz (The Acting Company), Jennifer Diaz and Elaine Stenson.

Directed by Jessi D. Hill (The New Group, Ensemble Studio Theatre; Associate Artistic Director of terraNOVA Collective), these free but limited seating readings offer audiences a unique opportunity to engage with a colorful and hysterical new work from one of New York’s brightest emerging talents.

For more information and to get free tickets, visit www.wildroot.org.

OTHELLO – Portland, OR

  • April 13, 2014

Othello_Cover

Shakespeare’s tragic tale of the esteemed General destroyed by jealousy and betrayal opened on April 11, starring Daver Morrison. OTHELLO began previews April 5, opened on April 11, and  runs through May 11 on the Main Stage at Portland Center Stage in Portland, OR.

In  Othello, a highly esteemed general serving the state of Venice secretly marries Desdemona, the daughter of a senator. Typical of Shakespeare, as their love is revealed, the daggers are unleashed, fueled by jealousies and personal conflicts that exploit multiple secrets compounded by a cavalcade of betrayal.

What I found most appealing about OTHELLO was its sharp and straight-forward dialogue that was easy to follow as the plot took twists and turns that were at times rather unexpected and surprising. Keep in mind that OTHELLO is a tragedy and will in no way leave you feeling warm and fuzzy inside.

The cast of 16 handily delivers the dialogue that Shakespeare has penned, and the strength of the performances help guide us through OTHELLO’s tangled web with highly memorable work. Notably, Daver Morrison has his Portland Center Stage debut as the tragically betrayed Othello with a subtly strong performance. Othello’s wife, Desdemona, is played with confidence and charm by Nikki Coble.

Bringing OTHELLO to life is the artistry of Scenic Designer Scott Fyfe whose turntable stage (think the original London and Broadway productions of Les Miz) more than impresses, but is functional as well, making possible seamless scene transitions allowing the audience to focus without distraction. Costume Designer Susan E. Mickey, brings to life the traditional look and feel of the production, lavishly recreating the costumes worn by Shakespeare’s characters in period high-fashion.

This production of OTHELLO is not to be missed. Although not a huge “fan” of Shakespeare, I have to say that I appreciate his work, and find myself further taken with each performance I attend. The Portland Center Stage production is one that could be the tipping point for me, and others who are on the edge, that will finally turn us from mere interested parties to potential enthusiasts.

For more information and to purchase tickets, visit www.pcs.org/othello.

LOVE, LOSS, AND WHAT I WORE – Palm Springs, CA

  • April 4, 2014

loveloss_logo_web_rgb_lgWhat do a favorite shirt, various shades of brown boots, striped socks, high heels, multiple marriages and lots of laughter have in common? More than you think! Coyote StageWorks’ production of Norma and Delia Ephron’s LOVE, LOSS, AND WHAT I WORE pulls it all together.

The play, a bit of a cult classic which ran for over 1,000 off-Broadway performances at New York’s Westside Theatre, is a collection of monologues and recollections of 28 characters’ intertwined (and sometimes not) stories performed by five women.

The classically funny, thought-provoking and at times somber stories center around articles of clothing, fashion accessories and human relationships and how each is affected by the other. The Coyote StageWorks production stars Mo Gaffney, Gloria Loring, Cathy Rigby, Elaine Hayhurst and Bets Malone and is presented in one act on a simple stage with the cast seated during the performance. Each lady in the cast delivers a very convincing and poignant performance bringing to life the Ephrons’ work.

At first glance, one might think this show would appeal more to women than men. That, however, is a conclusion that should be avoided. LOVE, LOSS, AND WHAT I WORE offers the men as much as it does the ladies in the audience (even if at times only vicariously through a spouse, mother or sibling). The reality and poignant nature of the material as it is presented with warm and gentle comedy will certainly appeal to the senses of both sexes.

LOVE, LOSS, AND WHAT I WORE runs from March 28th thru April 5th at the Annenberg Theater in Palm Springs. For more information and to purchase tickets, visit www.coyotestageworks.com.

Don’t Miss Celebration Theatre’s 31st Anniversary Event!

  • April 4, 2014

Celebration_AnniversaryYou won’t want to miss this star-studded “HOT” and “GOLDEN” evening as Celebration Theatre of Los Angeles commemorates 31 outstanding years of noteworthy productions. Including many that have gone on to have successful runs in New York and beyond.

Join Betty White and her “Hot in Cleveland” co-starts as they do a reading of a “Golden Girls” episode. Michael Burger will host the evening. Also appearing will be Sean Hayes, with additional stars to be announced!

Get tickets now for this one-night-only event! Saturday, April 26th, 7:30 pm at Sound Stage 19, CBS Studio Center, 4024 Radford Ave, Studio City, CA 91604.

For more information and to purchase tickets, visit www.celebrationtheatre.com.

 

A RAISIN IN THE SUN – Opens Tonight with Denzel Washington

  • April 3, 2014

raisin_frontAs the race for the Tonys continues, Lorraine Hansberry’s A RAISIN IN THE SUN starring Denzel Washington opens tonight at 6:45 pm at the Ethel Barrymore Theatre. The limited engagement will run through June 15th.

Originally produced in 1959, Lorraine Hansberry‘s A Raisin in the Sun was the first play written by an African American woman to be produced on Broadway, where it won the New York Drama Critics Circle Award for Best Play. The Washington Post has called it “one of a handful of great American plays – it belongs in the inner circle, along with Death of a Salesman and Long Day’s Journey into Night.” The New York Times has hailed it as “the play that changed American theatre forever.”

Set on Chicago’s South Side, A Raisin in the Sun revolves around the divergent dreams and conflicts within three generations of the Younger family: son Walter Lee, his wife Ruth, his sister Beneatha, his son Travis and matriarch Lena, called Mama. When her deceased husband’s money comes through, Mama dreams of moving to a new home and a better neighborhood in Chicago. Walter Lee, a chauffeur, has other plans: buying a liquor store and being his own man. Beneatha dreams of medical school. The tensions and prejudice they face form this seminal American drama.

For more information, visit http://www.raisinbroadway.com.

Get Ready for NICHOLAS NICKLEBY at Theater for the New City!

  • March 29, 2014

nickelbyTheater for the New City presents NICHOLAS NICKLEBY, A NEW MUSICAL, based on the classic Charles Dickens novel with book by Robert Sickinger, music and lyrics by Alaric Jans. Performances will be staged Off-Broadway at the Joyce and Seward Johnson Theater at Theater for the New City from April 17-May 4, 2014.

Lissa Moira will direct a cast of 35, including Broadway star Luba Mason* (Chicago, Jekyll & Hyde, How to Succeed, Sunset Blvd.), Cabaret luminary Karen Kohler (Das Cabaret, Vienna to Weimar w/ KT Sullivan), Becca Gottlieb (Nat. Tours: Damn Yankees, The Wedding Singer), and Douglas McDonnell (Metropolitan & New York City Operas), with Rachel Daye Adams, William Broderick*, Jonathan Powers, David F. Slone, Jose Amor, Sage Bachalter, Anik Baker, Malin Barr, Alex Baturin, Rachel Baum, Sam Benedict, Thom Brown, Autumn Nia Fore, Virginia Franks, Carlos Gomez, Hannah Granik, Chloe Himmelman, Larry E. Johnson, Patrick Kenner, Stephanie Leone, Gloria Makino*, David “Zen” Mansley, Rita McCann, Tanner Murray, Chris Neher, Nia Nichole, Elisa Nikoloulias, Holly Rae Phillips*, Robert Charles Russell, Mary Elizabeth Schneider, and Amanda Yachechak. (*Member, Actors’ Equity Association. AEA Showcase).

Join the Crummles Troupe in protest mode as they bring The Nickleby Family, The Squeers, The Cheerybles, Smike, Newman Noggs and an array of early Victorian era characters to life. Left penniless after his father’s death, teenage Nicholas, his mother and sister embark on a journey to London to seek help from their Uncle Ralph, who immediately dislikes Nicholas and finds work for him in The Squeers’ boarding school. Run like a prison, Nicholas is horrified by the school’s conditions and escapes with crippled friend Smike back to London. Reunited with his family, Nicholas finds himself defending the honor of his family and friends against his Uncle’s deceptions. With a cast of 35, including six children, Charles Dickens’ NICHOLAS NICKLEBY, A NEW MUSICAL, has all of the comedic satire and memorable characters of Dickens’ famous romantic 1830’s novel with themes of class inequality and social injustice still relevant today.

Visit www.theaterforthenewcity.net/nickleby.htm for more information and tickets.

SOUTH PACIFIC Lives on at Paper Mill

  • March 27, 2014

southpacificWhat can continue to get audiences excited about this well-known and iconic Rodgers and Hammerstein musical? Easy answer – a new production at New Jersey’s Paper Mill Playhouse! Paper Mill never fails to impress. Even their production of THE OTHER JOSH COHEN earlier this year (a slight departure from the company’s typically large, lavish productions) garnered the praise of critics.

Leading the cast are Erin Mackey as Ensign Nellie Forbush, Jason Howard as Emile de Becque, Tony Award nominee Loretta Ables Sayre as Bloody Mary, Tally Sessions as Luther Billis, Doug Carpenter as Lt. Joe Cable and Jessica Wu as Liat. South Pacific will play the Millburn, New Jersey, theater from April 9 – May 4, 2014.  The official press opening night is Sunday, April 13 at 7:00PM.  South Pacific is sponsored by American Airlines. Paper Mill Playhouse’s 75th Anniversary Season is proudly sponsored by Investors Bank.

Adapted from the Pulitzer Prize-winning novel Tales of the South Pacific by James A. Michener, South Pacific features iconic melodies like “Some Enchanted Evening,” “Younger Than Springtime,” and “There Is Nothing Like a Dame.” One of the most acclaimed musicals of all time, South Pacific is an exquisite story of romance and love set against the backdrop of a lush tropical island during World War II. South Pacific’s original Broadway and revival runs won a combined total of 17 Tony Awards, 5 Drama Desk Awards and the Pulitzer Prize for Drama.

South Pacific will be performed at Paper Mill Playhouse eight times a week, Wednesday through Sunday.  Performance Schedule: Wednesday at 7:30PM, Thursday at 1:30PM and 7:30PM, Friday at 8:00PM, Saturday at 1:30PM and 8:00PM and Sunday at 1:30PM and 7:00PM.  Tickets are on sale now and range from $27 – $98. Tickets may be purchased by calling 973.376.4343, at the Paper Mill Playhouse Box Office at 22 Brookside Drive in Millburn, or online at papermill.org. Visa, MasterCard, Discover, and American Express accepted. Groups of ten or more can receive up to a 40% discount on tickets and should call 973.315.1680.

LES MIZ Opens (again) Tonight! Interesting Facts and Stats

  • March 23, 2014

les_miz_openingLES MISÉRABLES is probably one of the most iconic titles of any show ever, both on Broadway, in the West End and around the world. The show celebrates its latest iteration, opening tonight on Broadway at the Imperial Theatre in New York. With Ramin Karimloo staring as the new Jean Valjean, this production is bound to be as big a hit as ever!

In spite of being panned by critics early on (see some of the history here), LES MIZ has gone on to become one of the most influential stage musicals of all time, proving that professional critics don’t always have the last word. Instead, theatre-goers are having thier say, as LES MISÉRABLES will undoubtedly continue living on for “one day more” for generations.

To prep you for the current Broadway run, here are some well (and little)-known facts surrounding the show’s over quarter-century history (according to the show’s official website).

LES MISÉRABLES has been translated into 22 different languages:

English, Japanese, Hebrew, Hungarian, Icelandic, Norwegian, German, Polish, Swedish, Dutch, Danish, French, Czech, Castillian, Mauritian Creole, Flemish, Finnish, Argentinian, Portuguese, Estonian, Mexican Spanish and Korean.

Productions of LES MISÉRABLES have played in 42 countries and over 319 cities:

England, United States of America, Japan, Israel, Hungary, Australia, Iceland, Norway, Austria, Canada, Poland, Sweden, Holland, Denmark, New Zealand, France, The Czech Republic, Spain, Northern Ireland, Eire, Scotland, Wales, Bermuda, Malta, Philippines, Mauritius, Singapore, Germany, Hong Kong, Korea, South Africa, Belgium, Finland, Argentina, Brazil, Estonia, China, Mexico, Switzerland, Serbia, The Channel Islands, The Dominican Republic & Kuwait.

The production has played over 48,000 professional performances giving a total audience figure of more than 60 million people worldwide.

125,000 people attended the 1989 Australia Day concert in Sydney, which has been the biggest single live audience for LES MISÉRABLES to date.

400 million viewers in 197 countries created the biggest broadcast audience for LES MISÉRABLES when the 1996 European Football Championship starring 250 cast members was televised.

The London production of LES MISÉRABLES is the world’s longest running musical where it played 7,602 performances at the Palace Theatre before transferring to the Queen’s Theatre where it opened on 3th April 2004.

There are approximately 101 cast and crew directly involved in every performance, not including front of house staff, ticket sales, wardrobe staff, set contractors, maintenance, office staff, advertising and publicity.

Each performance entails some 392 costumes consisting of over 5000 items of clothing and 85 wigs.

The Barricades move 19.5 meters per show at the Queen’s theatre

LES MISÉRABLES has won over 100 major theatre awards including an Olivier, Tony & Grammy.

There have been over 47 cast recordings of LES MISÉRABLES including albums, singles and the symphonic. Both the original Broadway cast album and the symphonic recordings won Grammy awards.

LES MISÉRABLES opens March 23, 2014 at the Imperial Theatre in New York. For more information and to purchase tickets, visit www.lesmis.com/broadway today!